A black-and-white photograph of Samuel Grant, Mae Reeves' father. He stands to the left of an empty leather high back chair and wears a dark suit and bowler hat. His right arm rests on the top of the chair.

A pamphlet titled “Constitution and laws of the Knights of the Ku Klux Klan” published by the Knights of the Ku Klux Klan, Inc. It has a green cover with black text and a rectangular border. The title is at the top of the cover. An image of a Klansmen riding a horse and holding a torch is at the center of the cover, printed in red ink. Underneath the image, printed with in black ink is “(AS AMENDED BY THE / IMPERIAL KLONVOKATION AT / CHICAGO, ILL., AUGUST, 1930).” Printed on the bottom of the cover is “IMPERIAL PALACE-INVISIBLE EMPIRE / KNIGHTS of the KU KLUX KLAN / ATLANTA, GEORGIA. The internal pages of the pamphlet are printed on white paper with black ink. It has sixty-one pages.

An iron wood-burning stove used in the Hope Rosenwald School. The stove is in several distinct pieces: stove body, ash box, base, transition piece, lid, small top piece, three long pipes, one short pipe, stove pipe adapter, cirular pipe piece, two rods, and a box of six screws, five nuts, and a pin. The pieces are probably a combination of iron and tin, and the base is wood. A stamp into the ash box reads "HANKS STOVE & RANGE CO. / ROME / GA."

A pink, yellow, and white quilt with a repeating block design of hand-pieced and appliqued pinwheels. There are nine (9) pinwheels arranged in three (3) columns of (3) and surrounded by sashing. The pinwheels are hand-pieced from plain white and double pink prints creating a striped effect. Each wheel has a saw tooth border and an appliqued pink center. The pinwheel is hand-appliqued to a pink ground. The sashing and the border are made from a bright yellow fabric with a small repeating print of red and black floral bursts and black stippled background. A pink stripe runs through the sashing and there are four (4) pink and yellow nine-patches in the corners of the sashing. The blocks and sashing are surrounded by a border made of the yellow fabric, with two pink strips sewn at each corner of the border. The quilt has thin batting and is backed with a plain off-white fabric. It is hand bound with a red and white striped fabric. The quilting is done by hand in white thread with different design elements including lines that following the wheel of each block, parallel lines in the background of the block, and a scallop or fan motif in the sashing and border. A strip of Velcro is added along the top back edge of the quilt. A fabric label is sewn at the back bottom proper left corner with hand written ink reading "CAVIGGA #8 / PINWHEELS 84" w x 87" l".

A pamphlet titled “Constitution and laws of the Knights of the Ku Klux Klan” published by the Knights of the Ku Klux Klan, Inc. It has a brown cover with black text and a rectangular border. The title is at the top of the cover. An image of two Klansmen riding horses and holding torches is at the center of the cover. Printed between the two figures is “Non Silba / Sed Anthar.” Printed on the bottom of the cover is “IMPERIAL PALACE-INVISIBLE EMPIRE / KNIGHTS of the KU KLUX KLAN / ATLANTA, GEORGIA. The internal pages of the pamphlet are printed on white paper with black ink. It has fifty-three pages. The pamphlet has an illegible inscription on the back.

A sixty-page pamphlet titled “The Ku Klux Klan; Its Origin, Meaning and Scope of Operation” written by Charles Lewis Fowler. The pamphlet is printed on white paper with black text. It discusses the history of the Ku Klux Klan and its goals as an organization.

A black-and-white stereoscopic photograph depicting a group of men, women, and children picking cotton in a field. A white man on a horse can be seen in the background watching the group. Green type below the photograph reads, [(21)-5078 Cotton is King - Plantation Scene, Georgia./COPYRIGHT 1895 by Strohmeyer & Wyman]. Publisher and manufacturers information appear on left and right side of photograph. Description of the scene and the cotton industry appears on the back of the stereoscopic card.

The oral history consists of four digital files: 2011.174.23.1a, 2011.174.23.1b, 2011.174.23.1c, and 2011.174.23.1d.

The Reverend Dr. Joseph Lowery recalls his position as pastor at the Warren Street Church in Mobile, Alabama, in the 1950s. He remembers joining the National Association for the Advancement of Colored People (NAACP), the differences in race relations between Mobile and other southern cities, and helping to found the Southern Christian Leadership Conference (SCLC). He reflects on the effectiveness of nonviolence, the libel suit against him, sit-ins across the country, and the Selma to Montgomery March.

The oral history consists of six digital files: 2011.174.41.1a, 2011.174.41.1b, 2011.174.41.1c, 2011.174.41.1d, 2011.174.41.1e, and 2011.174.41.1f.

William Anderson, D.O. recalls growing up in Americus, Georgia, serving in the navy during World War II, and his friendships with the Rev. Dr. Martin Luther King, Jr., and the Rev. Ralph D. Abernathy. He remembers opening his osteopath practice in Albany, Georgia, becoming a leader of the Albany Movement, and supporting protesters from the Student Nonviolent Coordinating Committee (SNCC). He discusses his several arrests with King and Abernathy, appearing on Meet the Press, the closing of all public facilities in Albany, and his later friendship with Sheriff Laurie Pritchett.

The oral history consists of four digital files: 2011.174.6.1a, 2011.174.6.1b, 2011.174.6.1c, and 2011.174.6.1d.

C. T. Vivian recalls growing up in Macomb, Illinois, working in Peoria, Illinois, and his call to the ministry. He discusses attending the American Baptist Theological Seminary in Nashville, Tennessee, where he met other civil rights activists and participated in demonstrations. He remembers planning the Freedom Rides, his imprisonment at Mississippi State Penitentiary (Parchman Farm), the Children's Crusade in Birmingham, Alabama, and working for the Southern Christian Leadership Conference (SCLC).

The oral history consists of five digital files: 2011.174.69.1a, 2011.174.69.1b, 2011.174.69.1c, 2011.174.69.1d, and 2011.174.69.1e.

Mary Jenkins describes Albany, Georgia, during her childhood and discusses moments when she encountered racial prejudice. She describes her education in all-black schools, her decision to attend Fisk University, and her longing to become a teacher. Around the time of Brown v. Board of Education, she began teaching in Georgia and witnessed negative reactions of white administrators to the decision. Jenkins describes her decision to join the Albany Movement, and she shares memories of working with the Rev. Dr. Martin Luther King, Jr.

A cabinet card with an albumen print of a group of unidentified men, women, and children picking cotton in a field. The landscape behind the cotton field is barren, with a grove of trees in the far left distance. Most of the people are bent over picking, though some are standing upright and one person in the left background has a large basket hoisted onto their left shoulder. The print is mounted on a pale yellow card mount that is gray on the reverse. The title and photographer name are printed and handwritten in black ink on the reverse.

A cabinet card with an albumen print of an unidentified man sitting in a dirt yard near a wooden structure. The man is sitting on an overturned wooden crate near a short homemade oven made from stacked bricks. A kettle and other cooking implements are gathered near the oven and the man's crate. He looks at the photographer and has his arms crossed and propped onto his thighs. A short wooden structure held up by two large sticks is in the left background. In the right background is a larger wooden structure with a sloped shingled roof that is made from boards, with several additional boards and sticks used to prop up the original structure. The print is mounted on gray cardboard. An inscription handwritten on the reverse reads, "Cooking his breakfast / Augusta Ga".

A stereograph titled "Cotton is King, Plantation Scene, Georgia, U. S. A." printed by Strohmeyer & Wyman. The gelatin silver prints depict a group of unidentified men, women, and children picking cotton in a field. A large basket of cotton is in the foreground between a child and a woman who is bent over picking bolls and putting them into a large sack looped around her shoulders. A man in the left background can be seen carrying a full basket of cotton bolls on his back. The publisher's name is printed along the left and right sides, with the title and copyright date printed in the lower right. The title is printed in several languages on the reverse center.

A stereograph titled "Bob and His Fiddle" printed and photographed by O. Pierre Havens of Savannah, Georgia. The albumen prints depict a boy identified in the image title as Bob holding a homemade fiddle while seated outside a small log building. He wears a white shirt, dark vest, dark pants, and no shoes. His hat is lying on the ground by his left foot. He looks down at the fiddle held in his left hand and propped on his left shoulder, while holding a bow made from string and a bent stick in his right hand over the strings of the fiddle. The title is blurred and printed in the bottom left corner on the right facing print. The prints are mounted on card stock that is orange on the front and light pink on the reverse. Black text printed on the reverse lists the photographer's name and address.

A stereograph titled "Hoeing Rice" printed and photographed by Havens of Savannah, Georgia. The albumen prints depict one female and three male people hoeing rice in a field. The prints are mounted on card stock that is orange on the front and light pink on the reverse. Black text printed on the reverse lists the photographer's name and address. A paper label is adhered upside down on the bottom reverse with black printed text reading: "53. Hoeing Rice."

A stereograph titled "An Hour's Hunting" printed and photographed by O. Pierre Havens of Savannah, Georgia. The albumen prints depict an unidentified woman and an unidentified girl seated on the open doorstep of a log building. The girl's head rests in the woman's lap. The woman looks down at the child with her hands in the child's hair. The prints are mounted on card stock that is orange on the front and light pink on the reverse. Black text printed on the reverse lists the photographer's name and address. A paper label is adhered upside down on the bottom reverse with black printed text reading: "56. An Hour's Hunting."

A stereograph titled "Plantation Scene; Folks All Home" printed by J. N. Wilson of Savannah, Georgia. The albumen prints depicts six (6) unidentified children in the yard outside a log building with a brick chimney. A girl stands near the center with her hands inside a wooden washtub on a stand. A boy stands to her right with his back at the corner of the building and holding a large full basket on his head. Two younger children sit on a bench outside the building in the background. Two toddlers sit on the left side of the frame, one on the wheel of a small wooden cart and another on the ground next to a box or bin. The prints are mounted on tan card stock. Black text printed on the reverse lists the photographer's name and address. A paper label is adhered below the printed text that reads "68. Plantation Scene; Folks all Home."

An untitled stereograph printed by J. N. Wilson of Savannah, Georgia. The albumen prints depicts a group of eight (8) people clustered near each other in a cotton field. The men, women, and children are all picking cotton or looking away from the camera except for a young man in the center foreground who stands and looks into the lens with a large picking sack hanging down on his right front side and his right hand balancing a full basket of cotton bolls on his head. A large white building can be seen in the far center background with smaller buildings around it amongst a grove of trees. The prints are mounted on card stock that is orange on the front and light pink on the reverse. Black text printed on the reverse lists the photographer's name and address.